Every Error in Game Of Thrones Season 6

Summary

This video script critiques 'Game of Thrones' Season 6, highlighting the narrative and tonal depletion that leaves the show as a mere shell of its former glory. It points out numerous plot inconsistencies, character missteps, and dramatic flaws, suggesting that the series' decline began much earlier than commonly criticized Seasons 7 and 8. The critique also touches on the lack of consequences for actions and the prevalence of drama for the sake of it, which overshadows any remaining brilliant moments.

Takeaways

• 📉 The script criticizes Season 6 of Game of Thrones for depleting the narrative and tone, leaving it as a shell of its former self.
• 🔪 The reviewer suggests that the show's spirit ends with Jon Snow's resurrection at the end of Season 5, marking a decline in quality.
• 🤔 The script points out numerous plot inconsistencies and logical errors throughout Season 6, such as characters surviving improbable situations.
• 😡 It highlights the poor character development, particularly for Sansa Stark, who is portrayed as overly smart but makes questionable decisions.
• 🐉 The dragons' growth rate is questioned, as they appear much larger than expected within the timeline of the series.
• 🗡 The script mentions the lack of consequences for characters' actions, which undermines the storytelling and creates a sense of disbelief.
• 🤷‍♂️ The dialogue is criticized for being nonsensical or serving no purpose, with characters sometimes acting out of character.
• 🏰 The Battle of the Bastards is scrutinized for its unrealistic military tactics and the lack of strategic planning by key characters.
• 👻 The Faceless Men's inconsistent rules and acceptance of Arya's actions despite breaking their code is highlighted as a plot issue.
• 👑 Cersei's ascension to the throne is noted to occur without significant backlash or instability, despite her extreme actions.
• 💣 The finale's explosive event that kills multiple key characters is criticized for its lack of follow-up and impact on the storyline.

Q & A

What is the main criticism of Game of Thrones Season 6 presented in the script?

The main criticism is that the narrative and tone of the show are depleted, leaving it as a mere shell of its former self with few good moments heavily outweighed by madness and stupidity.

According to the script, which character's storyline is compared to the show's decline?

Jon Snow's storyline is compared to the show's decline, with his resurrection and inability to be himself again symbolizing the series' loss of identity.

What issue is raised about Sansa and Theon's survival after jumping into an ice-cold river?

The issue raised is the implausibility of their survival after such an event, which is presented as an example of the show's narrative flaws.

What is the problem with the portrayal of Brienne's encounter with Ramsey's men in the script?

The problem is that Brienne, a knight known for her combat skills, is shown to be easily defeated, which contradicts her character's established abilities.

Why is Prince Doran's murder considered a plot convenience in the script?

Prince Doran's murder is considered a plot convenience because it skips vital intrigue and scheming that were previously required for such events, making it feel rushed and unearned.

What is the criticism regarding Arya's lack of learning the language in Braavos?

The criticism is that after living in Braavos for a full season, Arya has not learned the local language, which is seen as a missed opportunity for character development and immersion.

How is the training method of the Waif for Arya described in the script?

The training method is described as nonsensical and not allowing for skill development, being more of a traumatizing beat-up rather than a constructive learning experience.

What is the issue with Tyrion's decision to visit the dragons in the dungeons?

The issue is that it is an unnecessary risk, and in the books, a similar character meets a fatal end for taking the same risk, which is not portrayed in the show.

What is the problem with Theon's decision to return to the Iron Islands?

The problem is that Theon decides to travel without proper clothes, provisions, or a safe passage, through Bolton-controlled territory, which is portrayed as a reckless and poorly thought-out decision.

Why does the script criticize Melisandre's resistance to revive Jon Snow?

The criticism is that her resistance and subsequent doubt of her faith for cinematic effect goes against her established character and abilities.

What is the issue with the portrayal of the Battle of the Bastards in the script?

The issue is that strategic decisions made by Jon and Sansa do not make sense, and there is a lack of mention of the consequences of their actions, such as the unnecessary loss of life.

How does the script describe the aftermath of Cersei's actions in King's Landing?

The script describes the aftermath as lacking in consequences, with no mention of unrest, power vacuums, or domestic instability despite the significant destruction and loss of life.

What is the script's final critique regarding the Faceless Men and Arya?

The final critique is that the Faceless Men allow Arya to leave despite her knowing too much, and there is a missed opportunity for a more satisfying conclusion to her storyline with Jaqen.

Outlines

00:00

🏰 Decline of 'Game of Thrones' - Season 6 Critique

The script critiques the sixth season of 'Game of Thrones', suggesting it marks the beginning of the show's decline. It discusses the depletion of the narrative and tone, comparing the series to Jon Snow's resurrection, highlighting a loss of identity. The author mentions a few good moments but emphasizes they are overshadowed by poor decisions and plot developments. Sansa Stark is featured as a central character, and the video promises to detail the errors and issues throughout the season.

05:03

🤔 Inconsistencies and Plot Holes in Season 6

This paragraph delves into specific inconsistencies and plot holes within the season. It covers a range of issues from Sansa and Theon's improbable survival to the sudden disappearance of characters, the unrealistic portrayal of combat, and the lack of consequences for treason. It also points out the lack of language acquisition by Arya in Braavos, the unnecessary risk-taking by Tyrion, and the illogical actions of various characters, such as Theon's return to the Iron Islands without proper preparation.

10:04

🔥 Unnatural Events and Character Missteps

The script continues to highlight unnatural events and character missteps in the season. It discusses the rapid spread of fire in a scene involving Daenerys, Sansa's secretive meetings with Littlefinger, and the odd behavior of characters like Varys and Kinvara. The paragraph also criticizes the handling of Bran's visions, the miraculous survival of Meera and Bran from the White Walkers, and Arya's improbable escape from being fatally stabbed, all pointing towards a lack of narrative coherence.

15:05

👑 Power Plays and Strategic Failures

This paragraph focuses on the strategic failures and power plays in the season. It critiques Sansa's lack of strategic insight during the Battle of the Bastards, the unrealistic portrayal of the siege of Riverrun, and the odd behavior of characters like Brienne of Tarth. The script also mentions the illogical actions of Daenerys in Mereen and the strange acceptance of Arya by the Faceless Men despite her breaking their rules. It ends with a critique of Cersei's coronation and the lack of consequences for her drastic actions.

🎭 The Erosion of Consequences and Dialogue in Season 6

The final paragraph of the script summarizes the overarching issues of the season, emphasizing the erosion of consequences for characters' actions and the deterioration of dialogue quality. It suggests that the season is riddled with unnecessary drama and asks the audience to accept many illogical developments. The author invites viewers to share their thoughts on the season and teases the upcoming critique of season 7, encouraging viewers to like, comment, and subscribe for more content.

Keywords

💡Game of Thrones

Game of Thrones is a fantasy television series based on the novels by George R. R. Martin. It is renowned for its intricate plotlines, complex characters, and high production values. In the context of the video, it refers to the sixth season of the show, which the script criticizes for its narrative and tonal depletion compared to previous seasons.

💡Narrative Depletion

Narrative depletion refers to the perceived decline in the quality of storytelling, where the plot and character development may not be as engaging or coherent as they once were. The script suggests that by season 6, Game of Thrones has lost much of its original charm and storytelling prowess.

💡Resurrection

Resurrection in a narrative context means bringing a character back to life after their death. Jon Snow's resurrection is mentioned in the script as a point where the show's spirit is said to have diminished, implying that his return affects the show's direction and quality.

💡Sansa Stark

Sansa Stark is a central character in Game of Thrones, known for her growth from a naive girl to a savvy and strategic leader. The script humorously refers to her as 'the smartest person you've ever met,' which is ironic given the criticism of her actions and decisions in season 6.

💡Stupidity and Madness

The terms 'stupidity' and 'madness' in the script are used to describe the perceived poor decisions and illogical actions taken by characters in season 6. These terms highlight the video's critical stance on the season's plot developments and character motivations.

💡Inconsistency

Inconsistency in storytelling refers to elements that do not align with previously established facts or character behaviors. The script points out several instances where actions or dialogues in season 6 are inconsistent with earlier seasons, suggesting a decline in the show's attention to detail.

💡Consequences

In the context of storytelling, consequences are the outcomes or results of characters' actions. The script argues that in season 6, actions often do not have logical consequences, which undermines the narrative's believability and coherence.

💡Drama for Drama's Sake

Drama for drama's sake is a criticism often leveled at narratives that introduce conflict or tension without a clear purpose, other than to create artificial excitement. The script suggests that season 6 of Game of Thrones suffers from this issue, with characters antagonizing each other without a solid narrative reason.

💡Dialogue

Dialogue in a script refers to the spoken lines of characters. The video criticizes the dialogue in season 6 for not making sense, indicating that conversations between characters are unrealistic or poorly written, which detracts from the viewing experience.

💡Antagonizing

Antagonizing is the act of provoking or inciting conflict with others. The script uses this term to describe how characters in season 6 seem to provoke each other over trivial matters, contributing to the 'drama for drama's sake' issue.

💡Irrelevant Scenes

Irrelevant scenes are parts of a narrative that do not contribute to the main plot or character development. The script mentions certain scenes involving Tyrion, Missandei, and Greyworm as being pointless, suggesting they do not advance the story or provide meaningful insights into the characters.

Highlights

Season 6 of Game of Thrones is criticized as narratively depleted and a mere shell of its former self.

Jon Snow's character arc is compared to the show's decline post-resurrection.

Season 5 is suggested to be the real turning point for the series' quality.

Sansa Stark is portrayed as the smartest character, yet her actions are questioned throughout the season.

Sansa and Theon's survival after jumping into an ice-cold river is questioned.

Brienne's encounter with Ramsey's men and the subsequent horse death is highlighted as implausible.

The disappearance of hounds tracking Sansa and Theon is noted as a plot hole.

Prince Doran's murder and the lack of intrigue are criticized.

Arya's lack of Braavosi language acquisition after a season in Braavos is pointed out.

Bran's training and Meera's skepticism are highlighted as inconsistent with their journey's purpose.

Theon's survival and return to the Iron Islands without provisions is questioned.

Melisandre's resistance and subsequent doubt in her faith are criticized as out of character.

Arya's miraculous survival after being fatally stabbed and jumping into a river is highlighted as unrealistic.

Sansa's sudden transformation from a victim to a warmonger after a bowl of soup is questioned.

The Waif's behavior towards Arya, including her desire to kill her, is criticized as against the Faceless Men's principles.

The Battle of the Bastards' strategic flaws and Sansa's withholding of information are criticized.

The lack of consequences for Cersei's actions, including the explosion at the Sept of Baelor, is noted.

The Faceless Men allowing Arya to leave, despite her knowing too much, is questioned.

The decline in dialogue quality and the increase in drama for drama's sake are highlighted as ongoing issues.

Transcripts

Welcome, friends, to season 6 of the dying

behemoth that was Game of Thrones.

This is the season where, not only the narrative, but even

the tone of the show is entirely depleted,

and what is left of it is a mere shell of its former self.

Most people talk about how  season 7 and 8 were terrible,

but the spirit of the show really goes  out with Jon Snow at the end of season 5.

I suppose his resurrection and inability  to ever quite be himself again

is a tragic but accurate comparison to how the series  never quite looked itself from here on out.

There are some good moments left, to be sure,

but they are very few at this point,

and they are heavily outweighed  by the madness and stupidity.

And for all of you who thought season 5 was bad,

all I can say is: strap in, because it only gets worse.

Starring Sansa Stark, the  smartest person you've ever met,

this is Every Error in Game of Thrones Season 6.

To start things off,

on the way up from Winterfell, Sansa and Theon jump in and out of an ice cold river

and survive somehow.

and survive somehow. (Kids cheering)

Then after being caught by Ramsey’s men,

Brienne rides in.

- It’s a bloody woman!

And the sexist knight is promptly punished  with a single slash across his armoured chest.

Then, after killing another, probably also  very sexist, knight,

his horse decides to die as well, despite not being hurt.

And as if that wasn’t bad enough,

the hounds that tracked down Sansa and Theon  are suddenly nowhere to be found

and have seemingly disappeared into thin air.

Not only has he let her go free after committing treason in season 5,

but Prince Doran calls Ellaria “brilliant” in reaction to some cheap flattery.

- Your mother is a brilliant woman, you know that?

Then, Doran is conveniently murdered,  with his guards standing idly by,

skipping past all the vital intrigue and scheming  previously required to reach such a conclusion.

Doran also allows the treacherous Sand Snakes to  escort his precious son Trystane

on his journey to King’s Landing,

which is just all kinds of stupid.

Then, when coming to kill Trystane,

Nymeria brings a whip to a close-quarters sword fight.

Over in Mereen, Tyrion and Varys go out completely unguarded

while the Sons of the Harpy are still very much at large.

After a full season of living in Braavos,

Arya still hasn’t learnt the language. Not even the word for “thank you”.

- Thank you.

The way the Waif trains Arya to  fight blindly is complete nonsense,

as it doesn’t allow for any development of skill,

and is essentially just a traumatizing beat-up.

Bran is training to be an all-seeing oracle,

but despite this being exactly what they  traveled so far, and sacrificed so much for,

Meera thinks they’re wasting their time.

Tyrion decides to take the unnecessary risk of visiting the dragons in the dungeons.

In the books, a character called Quentin Martell takes the same risk,

but on his visit, he is promptly burnt to a crisp.

After having made it so far, and  somehow not died from hypothermia,  

Theon suddenly decides to return to the Iron  Islands - without proper clothes, no provisions,  

no safe place to stop on the way and no passage.

One might think it a bad idea to travel on his own through the Bolton-controlled North

when literally  everyone and their dog is looking for him.

But he makes it just fine off-screen  and finds himself on the shores of the Iron Islands a couple episodes later.

- Mind the gap when stepping off the teleport.

Melisandre is putting up a surprising amount  of resistance when Daavos comes to ask her to  

try and revive Jon.

- Not for me.

Then she starts doubting her faith entirely for cinematic effect,

strongly going against her character.

For example, she says that she never had the gift of reviving people,

but she also admits that she never tried, so…

I admit, this is petty,  

but Jaquen gets his own accent wrong

and says “me” and “I” instead of “a man”, like he usually does.

- If a girl tells me her name,  I will give her eyes back.

There were at least twelve Night’s  Watch traitors that murdered Jon Snow,  

but only four of them get executed.

When Arya finally succeeds in defending herself,

the Waif is not pleased, despite fulfilling  her purpose as a teacher at long last.

After one bowl of good soup

- This is good soup

…Sansa goes from self-doubting  victim to confident warmonger. 

- If we don’t take back the North, we’ll never be safe.

I want you to help me, but I’ll do it myself if I have to.

(Laughs)

In the throne room of the Great Pyramid, the  Mereenese slave union representatives begging an audience

all conveniently speak the Common Tongue.

Then we’ve got Jorah and Daario sneaking into Vaes Dothrak

and trying to talk their way out of an encounter with some Dothraki.

But when they say they’re merchants,

the Dothraki assume the worst and choose to fight

before giving them the slightest chance at proving themselves,

even though it’s forbidden to  spill blood in the holy city.

And when Daario carelessly stabs the Dothraki to death,

Jorah points out that a body with a stab wound will send the whole city looking for them.

Daario then smashes the head in with a rock, as if that would remove the stab wound.

When Daenerys has had enough of the khals in the hut

and knocks over the lamps,

the fire spreads unnaturally fast.

Sansa goes to meet with Littlefinger,  in secret, without telling Jon.

Then she refuses his military assistance against the Bolton’s

and doesn’t think of any way to use his guilt to her advantage.

- She’s the smartest person I’ve ever met.

The play starring Lady Crane is performed  in the Common Tongue instead of Braavosi.  

How many times have I got to say it?

THIS.

IS.

BRAAVOS.

Priestess Kinvara is introduced in grand  fashion when Tyrion summons her to ask for help,  

but instead of quietly accepting  her generous assistance,  

Varys starts antagonizing her for no reason.

- You’re always right.

Everything is the Lord’s will.

But no matter, Kinvara walks out the door and is never seen ever again.

I’m not sure what I want them to do about this, but

Bran’s spirit is leaving footprints in the snow.

Then when the Night King touches Bran, the  Three-Eyed Raven tells them they have to

pack up and go

but instead of actually letting  them go, he takes Bran into another vision.

At the war meeting at Castle Black,

Sansa conveys the information she got from Littlefinger about

her uncle the Blackfish having retaken Riverrun,

and lies about where she got that information.

It’s not like she has anything to lose by telling the truth,

so this is purely just her trying to create intrigue out of nothing for no reason.

And when Brienne later asks why she lied,

the camera just cuts to the  next scene for dramatic effect.

- She’s the smartest person I’ve ever met.

Then the attack at the Three-Eyed Cave begins,

and even though they are able to hear Meera  shouting for help from inside the vision,

instead of just waking up,

The Three-Eyed  Raven leaves Bran to sort it out himself.

And guess what, he does!

Bran looks at Hodor in the past, and somehow wargs into him in the present,

without actually warging into him.

Between episodes, Meera and Bran have somehow  managed to escape the White Walkers,

despite them being right on their heels when last we saw them.

Then when the wights finally close in,

they get conveniently saved by Uncle Benjen.

And, I would say he rides in to save the day,

but rather than riding in, he spawns  right on top of them to save the day.

Back in Braavos, when Arya knocks the poisoned  cup out of Lady Crane’s hand,

the Waif shows up from behind a corner, as if no one could  see her from there

- wearing her own face.

What is the point of being a Faceless Man if you  aren’t gonna wear the faces on missions anyway?

Then it turns out that the Waif  apparently has been longing to kill Arya,

and having desires like that goes strictly  against what the Faceless Men are about.

But Jaqen doesn’t give a sh*it and is all in.

After having shown up to intimidate the High Sparrow,

Jaime is dismissed from the  Kingsguard for attacking the Faith,

but Olenna and Mace Tyrell are let off the hook,

even though they were just as involved in this so-called attack as Jaime was.

Then when Jaime suggests having

Bronn go and assassinate the High Sparrow for all  he’s done,

Cersei burn-cities-to-the-ground Lannister says no to the vengeful plan

because Riverrun needs recapturing.

- Take the stupid little castle back

because it's ours and because you can.

And this is before the wildfire  plan is even in motion. 

Back beyond the Wall, Benjen explains how he  was able to stay alive up until this point. 

- The same way they made the  Walkers in the first place. 

- A shard of dragonglass plunged into your heart.

Right, but if they did the same thing to him,

then why isn’t he a White Walker?

- You saw it yourself.

Ok, and how does he know about  Bran having that particular vision?

Across the Narrow Sea, Daenerys is  taking her Khalassar back to Mereen,

when suddenly she stops to look at…

nothing?

- Everything alright?

Then after seeing a gust of wind,

she magically knows that Drogon is lurking beyond the hill.

Then she comes flying back on Drogon

who has grown exponentially large since we last saw him,

which is less than one season ago.

Now, I’m no expert,

but based on how fast the dragons grew in previous seasons,

he looks way bigger than he ought to be at this point in time.

When meeting with Lyanna Mormont on Bear Island,

Jon passes on the opportunity to  offer her Longclaw as a display of good faith.

But later in season 7 he offers it to Jorah because-

- It’s been in your family for centuries.

It’s not right for me to have it.

Even though Jorah was disowned and doesn’t have any children to pass it onto,

so giving it to Lyanna would have made a lot more sense.

The highlight of the season comes as Arya gets fatally stabbed,

jumps in the river and survives miraculously.

The Waif doesn’t even stop to confirm the kill,

or collect Arya’s face,

which is also kinda strange.

After seeing the positive effects of the deal with Kinvara,

Varys criticizes Tyrion for making a pact with fanatics,

even though he himself made a deal with the Harpy-supporting Vala

just a few episodes ago.

He then drops this piece of,  uh, let’s call it wisdom: 

- If you shaved your beard with a straight  razor, you’d say the razor worked.

That doesn’t mean it won’t cut your throat.

Then, in the middle of a crowded square,

right next to the harbour, he says:

- I’ll walk the rest of the way myself.

I can’t go off on a secret mission in the  company of the most famous dwarf in the city.

To which Tyrion shouts:

- Varys!

The most famous dwarf in the world.

Over at the Red Keep, where Cersei is  being locked up on the King’s orders,  

the High Sparrow has sent some people to take her  to the Sept of Baelor,

defying the King’s orders, as well as attempting to murder Cersei’s bodyguard in the king’s own home. 

And strangely enough, no one  mentions the incident ever again,  

even though it’s the perfect wedge for Cersei  to drive between Tommen and the High Sparrow. 

Over at the siege of Riverrun, Brienne says that  if the siege escalates to fighting, honor compels  

her to fight for Sansa’s kin,

- but that’s not how honor works.

She’s sworn to protect the daughters of Catelyn Stark after all,

so including all of their kin in that deal doesn't make much sense.

In the end, it does come to fighting,

and what does Brienne do?

Remains neutral and escapes on a boat, of course.

The scene with Tyrion, Missandei and Greyworm making jokes

is completely pointless and adds nothing to the story.

Arya runs around and does parkour before having  had time to heal from her lethal injuries. 

She also seems to have avoided the  inevitable infection after jumping  

into a dirty river with open wounds.

The Waif, in turn, makes a big scene of chasing Arya around town,

wearing her own face,  instead of disguising herself and being stealthy.

Finally, the Waif dies without any  clarification as to why she hates Arya so much.

Also, after killing the Waif and mounting her  face on the wall in the House of Black and White,

Jaqen u-turns on all what the Faceless Men stand for once more,

and accepts Arya as one of them,

despite her breaking all the rules and killing  yet another one who wasn’t meant to die.

And when Arya declines, he’s  totally fine with that too.

After returning to a Mereen under siege,

Daenerys starts talking about how she’s going to

return the cities of her opponents to the dirt,

strongly deviating from her character.

Then, during the negotiations with the Masters, the dragons show up right on queue

to intimidate the masters and start burning ships.

They’re also suddenly able to blast through  the thick pyramid stone like nothing.

Leading up to the Battle of the Bastards, Sansa  shows once again why she is the smartest person  

you’ve ever met with this moment of brilliance:

- Did it ever once occur to you that I might have some insight?

- What should I do differently? - I don’t know,  

I don’t know anything about battles.

- Smartest person I’ve ever met. 

And all the while she argues with Jon,

not once does she mention having sent for Littlefinger and the Knights of the Vale.

Had she just done that,  they could have waited and attacked with a much larger force,

saving God-knows-how many lives.

Over in Mereen, Yara and Theon have turned up after a short trip from the far side of Westeros,

and Tyrion recalls how, when he met Theon at Winterfell,

Theon was making jokes about his height.

- You were making jokes about my height I seem to recall.

Interesting recollection,  seeing as that never happened. 

As a matter of fact, back when they did meet in season 1,

it was Tyrion berating Theon for being a hostage of the Starks,

so if anything,

he was the bully in that situation, not Theon.

Yara then offers 100 ships in  return for the Iron Islands. 

And if that didn’t already sound like a  kingdom for a horse, Daenerys’ response is 

- And that’s all?

That’s already asking way too much! Are you kidding me?

And when Daenerys finally comes up with  something resembling a counter offer... 

- No more reaving, roving, raiding or raping.

- That’s our way of life.

Yara has the stomach to object!

100 ships for a kingdom,

but “nawrr, I need my rovin’ and rapin’.”

Then the Battle of the Bastards is about to start,

a battle that really should be taking place  at Winterfell.

Ramsey has the numbers - and the castle walls,

but comes out to meet  The Starks in the field nevertheless.

Then we’ve got Rickon running straight ahead  instead of zig-zagging, which is what literally  

anyone would do in this kind of situation, and it  most likely would have saved his life

but alas, he dies, the little shit.

Next thing you know, Jon makes the single worst decision he possibly  could

and charges straight at the Bolton’s, all alone, playing right into Ramsey’s hands.

And while it makes sense to do that to avoid the first volley of arrows,

that's not what he's doing.

He  really is just running in headlessly.

Then the Stark army launches their attack,  with foot soldiers at full sprint for hundreds  

of meters uphill before clashing with the  enemy, exhausting them before they can even  

start getting to work.

Then there’s this.

And this.

Another exhausting sprint.

Starks standing idly by as  the Boltons surround them. 

And after the riders of Rohan-  uh, I mean, Knights of the Vale,  

have finally swooped in to save the  day, Wun-Wun, Jon, and Tormund still  

The season finale starts out strong with Lancel  being asked to escort Cersei to her trial,  

but on the way, he allows himself to be  distracted by some kid in the streets. 

He then starts threatening the kid  before even knowing what he’s up to. 

- The longer you wait, the worse it'll be for you.

Also, how in seven hells could Cersei and  Qyburn have predicted and planned for Lancel  

to follow the kid down the cellars anyway?

Not to mention trusting the kid to carry out the plan to meticulous perfection

with basically no margin for error?

Finally, the High Sparrow is blown up before we  get to know his true intentions and aspirations. 

And strangely, the growing unrest and fanaticism  among the people seemingly die with him. 

Despite having had a whole season to  do so, Sam hasn’t informed the citadel  

of the Night’s Watch choosing a new Lord  Commander, or the death of their maester. 

On the battlements of Winterfell, Jon, who  just led the battle to retake the castle,  

nearly died on multiple occasions and won at  least a few olympic medals in the process,  

credits their victory to Sansa, because  she procured the support of the Vale,  

despite her lying to him about that,  a choice that jeopardized the whole  

conquest and led directly to unnecessary loss of  life, including the last of the giants.

So yeah, well done, Sansa. Well done.

Later in the godswood, Littlefinger does something he’s never done before

and reveals all his cards to Sansa, the smartest person in the world, maybe ever,

by telling her that he wants  her next to him on the Iron Throne.

And goes out of his way to spark intrigue by suggesting  that she should be the ruler of Winterfell.

The fact that he’s not executed the same  afternoon is bullshit.

He has no value to the Starks anymore with the knights of the Vale at  their service,

they are well aware of his crimes,

and him turning against them is always  a risk, so what are they waiting for?

Over in King’s Landing, Cersei is crowned, with  no uproar from the common folk, no power vacuums  

nor domestic instability whatsoever, despite her  blowing up the Queen, the leaders of the Faith,  

the leaders of the Reach, the leaders of the West,  her own uncle and cousin -remember kinslaying is a  

great crime-

and many, many more.

Not to mention how it also lead to the death of King Tommen…

After the Battle of the Bastards, no one so much as mentions Rickon or his funeral.

There’s also no mention nor ceremony to remember or honor those who died retaking Winterfell,

or protecting it when the Starks were gone,

like Ser Rodrik, Maester Luwin  and that old lady with the candle.

Wouldn’t it have been badass if Sansa went  straight to Rickon’s funeral after having dealt with Ramsey?

Eh, just a thought.

Lastly, the Faceless Men allow Arya to leave despite her knowing too much.

As I mentioned in a previous video,

it would have made a lot more sense if Jaqen came after her

and met her again at Winterfell in time for the Long Night,

and paying Arya’s debt to the Many Faced  God back by sacrificing himself for her,

and in so doing, paying his own debt  back to her for being saved in season 2.

The biggest problem in season 6 is the fact that actions cease to  have consequences

and dialogue starts getting freaky,

as lots of it just straight up doesn’t  make any sense.

Sadly, a lot of this can be attributed to ideological agendas being pushed,

something that gets even worse in season 7.

Drama for drama’s sake is an ever  growing cancer from this point onwards,  

as people start antagonizing each  other over just about anything.

In contrast to season 5, there just aren’t as  many moments of brilliance left to compensate  

for the insanity, and more and more is asked  of the audience to just gulp down and accept.

Did you agree with what I said in this video? Did I miss something?  

Let me know in the comments  what you thought of season 6.

Next up is Every Error in season 7, and I  think we all know how juicy that’s gonna be.

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And as always, thank you for watching.